✿ City Lights was immediately successful upon release on January 30, 1931, with positive reviews and worldwide rentals of more than $4 million. Today, many critics consider it not only the highest accomplishment of Chaplin's career, but one of the greatest films of all time. Chaplin biographer Jeffrey Vance believes 'City Lights is not only Charles Chaplin's masterpiece; it is an act of defiance' as it premiered four years into the era of sound films which began with premiere of The Jazz Singer (1927).
In 1991, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being 'culturally, historically, or aesthetically significant'.
In 2007, the American Film Institute ranked it 11th on its list of the best American films ever made. In 1949, the critic James Agee called the film's final scene 'the greatest single piece of acting ever committed to celluloid'
City Lights was immediately successful upon release on January 30, 1931, with positive reviews and worldwide rentals of more than $4 million. Today, many critics consider it not only the highest accomplishment of Chaplin's career, but one of the greatest films of all time. Chaplin biographer Jeffrey Vance believes "City Lights is not only Charles Chaplin's masterpiece; it is an act of defiance" as it premiered four years into the era of sound films which began with premiere of The Jazz Singer (1927).
In 1991, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant".
In 2007, the American Film Institute ranked it 11th on its list of the best American films ever made. In 1949, the critic James Agee called the film's final scene "the greatest single piece of acting ever committed to celluloid"
✿ Nikon D800 Key Features
Hold in your hands an HD-SLR able to capture images rivaled only by those produced with a medium-format camera: extremely low noise, incredible dynamic range and the most faithful colors..
Nikon D800 Key Features
Hold in your hands an HD-SLR able to capture images rivaled only by those produced with a medium-format camera: extremely low noise, incredible dynamic range and the most faithful colors..
Meet the Nikon D800, a 36.3 megapixel FX-format HD-SLR for professional photographers who require end results of the highest quality, who demand superior performance, speed, handling and a fully integrated imaging system. .
For cinematographers and multimedia professionals, 36.3 MP means true 1080p HD cinematic quality video and includes inputs for stereo microphones and headphones, peak audio meter display, DX crop mode to maximize NIKKOR lens selection and angle of view and much more.
Reveal every nuance, every detail
The 36.3 megapixel FX-format advantage
Wedding, commercial or landscape, the D800 is the ultimate 36.3 MP FX-format camera for creative genius. Witness tonal range and precision rendered to supreme clarity, depth and texture. .
Make poster sized prints without sacrificing detail. Explore creative opportunities with ISO 100 to 6400 (expanded up to 25,600)—shoot from dawn to dusk. Experience Nikon's new Advanced Scene Recognition System featuring the 91,000-pixel RGB light meter capable of rendering unprecedented levels of accuracy to AF, AE, i-TTL flash control, face recognition and auto white balance. Nikon's new EXPEED 3 image processing reduces color phase shifts seen with lesser systems, producing more faithful colors and tones while managing massive amounts of data at breakthrough speed. With the D800 in your hands, achieve what was once unreachable.
Broadcast quality video
A full cinematic experience
Filmmakers, multimedia professionals and event photographers—record Full HD 1080p at 30/25/24p or 720p at 60/50p in AVC format. Produce to your exacting vision when working in manual mode, controlling aperture, ISO, AF and shutter speed. Record uncompressed files via HDMI to an external recording device. via HDMI. .
Widen production perspective using either Nikon FX or DX lens formats at Full HD 1080p and 16:9 aspect ratio. Attach headphones and check audio levels or monitor input via peak audio meters as displayed on the camera's LCD monitor. Microphone sensitivity can be adjusted in up to 20 steps. Remotely start and stop video. Simultaneous Live View on the camera's LCD monitor and external monitor during recording are possible.
Render every megapixel with precision
Fast, precise 51-point wide area coverage
Precise AF detection is critical to sharply render every pixel of the D800's massive resolution count. An improved 51- point AF system with 15 Cross Type AF sensors, versatile AF area modes and superb AF detection in even the dimmest lighting deliver immediate, pinpoint focus. .
Fast shot-to-shot time, full resolution frame rate up to 4 fps, 6 fps in DX crop mode and ultra fast CF and SD card write times. For more productive workflow, high-speed data transfer using USB 3.0 is realized. For demanding professionals, the D800 responds immediately and precisely.
Versatile shooting, fluid operation
Streamlined ergonomic design puts critical tasks a touch away
Intuitive design makes D800 operation a thing of beauty. A streamlined ergonomic body allows critical photography and video tasks, including Movie Record, Live View, White Balance and Picture Control to be performed at the touch of a button. Confirm image capture and view menu options, histograms, video settings and more using the D800's super sharp 3.2-inch 921,000-dot LCD screen with 100% coverage. Anti-glare coating and auto brightness control ease of viewing, no matter the environment. Enlarge images up to 46x for on-the-spot focus confirmation. Magnesium alloy construction and environmental sealing make the D800 as comfortable in the field as in the studio.
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Fast energy from the fastest
moving objects on earth
You might want to cover your ears," a senior engineer at First Light Fusion tells me, as we gaze at a bank of screens that looks like a mini version of a Nasa control room. I reach for some ear plugs.
A warning siren is sounding and a computerised voice counts up the level of electrical charge in an extraordinary machine.
It has been built by First Light Fusion - an Oxford-based company trying to recreate here on Earth the reaction that powers the Sun.
Shortly after it is fully-charged, Machine 3 makes a considerable bang as switches fly open and 9 million amps - equivalent to around 300 lightning strikes - is concentrated into an area the size of your finger nail.
That electricity is then used to generate an electromagnetic force which accelerates a small aluminium disc to speeds of up to 20km-per-second, making it one of the fastest moving objects humans have ever created.
It's hard to imagine that kind of speed, but something going that fast would rocket from London to Paris in a little over 20 seconds.
✿ Every decade, Sight & Sound asks an international group of film professionals to vote for their ten greatest films of all time. Until 1992, the votes of the invited critics and directors were compiled to make one list. However, since 1992, directors have been invited to participate in a separate poll.
The individual results are eclectic; in the 2012 poll, 2,045 different films received at least one mention from one of the 846 critics. Even the top-of-the-list consensus has its limits.
The Sight & Sound accolade has come to be regarded as one of the most important of the 'greatest ever film' polls. The critic Roger Ebert described it as 'by far the most respected of the countless polls of great movies—the only one most serious movie people take seriously.'
The first poll, in 1952, was topped by Bicycle Thieves. The five subsequent polls (1962–2002) were won by Citizen Kane (which finished 13th in 1952), while Vertigo received the most votes in 2012.
Only La Règle du Jeu (The Rules of the Game) has appeared in all seven of the magazine's decennial polls. Among the directors that participated in 2012 are Quentin Tarantino, Martin Scorsese, Ken Loach and Francis Ford Coppola.
Every decade, Sight & Sound asks an international group of film professionals to vote for their ten greatest films of all time. Until 1992, the votes of the invited critics and directors were compiled to make one list. However, since 1992, directors have been invited to participate in a separate poll.
The individual results are eclectic; in the 2012 poll, 2,045 different films received at least one mention from one of the 846 critics. Even the top-of-the-list consensus has its limits.
The Sight & Sound accolade has come to be regarded as one of the most important of the "greatest ever film" polls. The critic Roger Ebert described it as "by far the most respected of the countless polls of great movies—the only one most serious movie people take seriously."
The first poll, in 1952, was topped by Bicycle Thieves. The five subsequent polls (1962–2002) were won by Citizen Kane (which finished 13th in 1952), while Vertigo received the most votes in 2012.
Only La Règle du Jeu (The Rules of the Game) has appeared in all seven of the magazine's decennial polls. Among the directors that participated in 2012 are Quentin Tarantino, Martin Scorsese, Ken Loach and Francis Ford Coppola.
✿ In Bangor, Maine in 1824, a cruel young girl named Jenny Hager pushes a terrified Ephraim Poster into a river knowing he cannot swim. She is prepared to let him drown until Judge Saladine (Alan Napier) happens by, at which point Jenny jumps into the water and takes credit for saving the boy's life.
In Bangor, Maine in 1824, a cruel young girl named Jenny Hager pushes a terrified Ephraim Poster into a river knowing he cannot swim. She is prepared to let him drown until Judge Saladine (Alan Napier) happens by, at which point Jenny jumps into the water and takes credit for saving the boy's life.
About ten years later, Jenny (Hedy Lamarr) has grown up to be a beautiful but equally heartless and manipulative young woman. Her father, an abusive, drunken widower, whips Jenny after learning of her flirtation with a sailor. She secretly schemes to wed the richest man in town, the much older timber baron Isaiah Poster (Gene Lockhart), while his mild-mannered son Ephraim (Louis Hayward) is away at college in Cambridge, Massachusetts.
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